Spin me back down the years and the days of my youth
Joined: Sept 2009 Gender: Male Posts: 2,178 Location: From down the smoke below...
Analyse Ian « Thread Started on Jul 22, 2012, 8:34am »
Charlie, recently posted a great interview link with Ian gleaned from the Tullpress site, it is a lengthy interview and throws up some interesting comments from Ian and observations by the interviewer.
I thought it might make a good starting point for an 'Analyse Ian' thread, where we could pick out some old interviews and conisder his views and consider them against his comments in later years.
It seems that Ian has held some contrasting opinions over the passage of time, not that there's anything wrong with that, but there's some considerable diversity in those opinions at times, as well as some significant contradictions.
Anyone want to kick off? Maybe with something from the NME interview that Charlie found.
Re: Analyse Ian « Reply #1 on Jul 22, 2012, 8:45am »
Pat I think we should combine the thread I started ..Ian In His Own Words..with this one. It might be easier to keep them together..
I thought it would be an interesting thread to read what Ian has said in the past. This thread maybe would be a good place to hear what Ian has said in days gone by.
Pat I think we should combine the thread I started ..Ian In His Own Words..with this one. It might be easier to keep them together..
I thought it would be an interesting thread to read what Ian has said in the past. This thread maybe would be a good place to hear what Ian has said in days gone by. This article is June 5 1976 http://www.tullpress.com/nme5jun76.htm
Excellent article Charlie! It was a little long so I took more time to notice a real cool quote by Ian "I started to enjoy Jethro Tull after I'd made the decision not to quit, which was about 1970. Up until that point it had been financially very dissatisfying because of the huge debt we'd incurred as a band, due to the cost of equipment, and trucking and aeroplane flights to get us tours that didn't make any money."
This seems very telling about Ian in general. At times I feel he can be very insecure. I think his fear of financial shortfall is very apparent. Sounds like a reasonable way to be.
Re: Analyse Ian « Reply #5 on Jul 25, 2012, 7:44am »
NEW MUSICAL EXPRESS
14 June 1969
JETHRO TULL? HE'S REALLY FANTASTIC says Cliff
Hairies meet the Mohairs
Down at Top Of The Pops last week, Cliff was seen deep in conversation with Ian Anderson, the shaggy leader of Jethro Tull. After Eric Clapton's praise of Hank Marvin, I wondered if the music of Cliff and the now departed Shadows and the underground might not be the poles apart that they seem.
I think Jethro Tull are fantastic (Cliff enthused). I really do, they have so much talent. But the term 'underground' still baffles me. I think of it as meaning a group without a hit, but that may be a little unfair. Jethro Tull were underground but they were just waiting for the right song and the right time. Now, it won't be long before they are up and above ground.
I once did a charity concert at the Royal Festival Hall with Traffic. Now I really rated their records, and Stevie Winwood is really good, but they let me down that night. They couldn't get their record sound across on stage, and they had no act to make up for that deficiency. I don't suppose groups like Jethro Tull and Blind Faith like to be called entertainers, or in show business, but whether they like it or not, they are. While they are all very good musicians, they don't seem to bother about anything visual, and in the long run, you've got to have that as well.
* * *
CLIFF? HE'S A NICE BLOKE Jethro's Ian Anderson tells Nick Logan
It was a happening full of such promise — the expeditionary forces of the Underground, represented by Jethro Tull and Chicken Shack, launching into the heart of enemy territory and storming that great bastion of the pop establishment 'Top Of The Pops'. An equal-footing confrontation between hairies and mohairs just had to be a sight to set the senses reeling and one not to be missed.
True, it was one up for the hairies as Ian Anderson would so succulently put it, but it all evolved into such a quaintly tame affair. Even the provocative sight of Ian at his hairiest and wildest couldn't raise more than the odd eyebrow or two among the terrible blasé chappies of the BBC. And later in the afternoon it appeared that the other side, outnumbered man to man but bravely represented by Cliff Richard and Tommy Roe, were actually welcoming the opposition.
"Ho ho, this'll get them going," I thought to myself as I engineered a confrontation between Cliff and Ian Anderson. Now for the fireworks.
Are you the leader of this Tull group? (asked Cliff as the two politely shook hands). I didn't know if Jethro Tull was the name of the group or one person.
Not only was there not a solitary verbal left hook in hearing, but there was no getting them apart as the smart-suited one and the woolly-vested one became immersed in conversation about, of all things, records and music.
"He's a nice bloke," said Ian after a retreating camera eventually scuttled their conversation. But there was more to come. When Jethro Tull got up on stage and did the run-through of their 'Living In The Past' hit, all heads turning to wonder at Ian's wild cavorting and eye-popping, there was Cliff on the opposite stage bouncing along with the rhythms and actually singing parts of the song.
DISAPPEARED
I had arrived at Lime Grove with the Chicken Shack entourage and set off looking for Ian, who had apparently disappeared. "He's in the control room listening to the violins," someone suggested helpfully as I made my way along corridors dodging assorted Shacks and Tulls as I went. But Ian was nowhere to be seen. Many minutes were spent traipsing back and forward from studio to dressing room to canteen and I gradually became aware of Jethro's bass guitarist Glenn Cornick mysteriously appearing in every place I visited, grinning like a cat and taking a great delight in my plight.
On about the seventh trip Ian suddenly appeared in the middle of the studio and I dragged him, lead guitarist Martin Barre and the still-grinning Glenn back to the canteen for a chat.
How did Ian think the group's Underground followers would react at the sight of Jethro Tull on Top Of The Pops?
I hope they will say "Oh goody, Jethro's on Top Of The Pops, sock it to 'em Jethro,"
answered Ian, rolling his eyes madly and with an extravagant throw of the head pouncing teeth-bared on an unsuspecting bar of Kit Kat.
Even if they don't like the tune, this is a strike for our side (he continued, demolishing the whole bar with one more bite). And it's really nice to be on the inside. It's nice to be doing your little bit to improve the state of things. It's much better than just being Underground and saying nasty things about Top Of The Pops.
Now that Ian's realised his ambition of appearing on the nation's No.1 pop show his next aim is to be compare on 'Saturday Night At The London Palladium', though he was a little brought down when I told him it wasn't on any more. Shortly to follow the group's 'Living In The Past', which incidentally was recorded in New York at enormous expense, is their second album titled Stand Up, not the least interesting facet of which is the novel sleeve which when opened reveals stand-up cut-outs of the group. It's like those children's books or birthday cards.
It's taken the artist a great deal of time to achieve, (said Ian, observing drily:) and it'll probably fall to bits after ten minutes.
The LP itself is a good one (he continued modestly). There are no virtuosos, no ten minute long solos and no improvisation unless necessary. It is difficult to resist all that sometimes in the current fad of jamming.
On the way back to the dressing room Ian told me that his mother liked the last article I did on him — he thought it made him sound respectable, it seems — and that she still collects all his press cuttings. Apparently his family, who live in Blackpool, were all set to see Jethro Tull on the Manchester gig of their recent tour but Ian refused to play if they came along.
It would have been terribly embarrassing,
he winced. Early Tull followers will be sad to know that the first famous Anderson overcoat was lost in Chicago on the group's U.S. tour but will be pleased that Ian still has in his possession the trousers he's worn on every gig since they started eighteen months ago.
ROTTEN
I've only had them washed twice (said Ian proudly, holding them up to view). They've actually gone rotten and you can poke your finger through the material. Every time I come off stage they are literally soaked, just like they've been in a bucket of water. And they smell incredibly. It drives everyone away.
As he was removing a very presentable pair of brown leather trousers to put on these awful monstrosities it did pass my mind to wonder why he didn't throw them away. He must have anticipated my question.
Basically I am a very clean person (he observed). I bathe and I wash my hair. It derives really from a desire to push things to their limits.
Spin me back down the years and the days of my youth
Joined: Sept 2009 Gender: Male Posts: 2,178 Location: From down the smoke below...
Re: Analyse Ian « Reply #6 on Jul 25, 2012, 9:24am »
'It derives really from a desire to push things to their limits.'
I've always thought that an admirable quality that shows an aspirational approach to work, but I've alwasy been conscious that sometimes it can be destructive in a relationship whether it be one to one or one to a group. Judging others by your [own] artifically high standards could mean others lose respect for you, see you as a bit demanding, too pushy and a bit heavy handed, a bit of leeway in accepting the standards of others can help to nurture support from others.
I mean telling someone to fuck off and shoot themselves might be considered by some as pushing someone too far, possibly beyond their limit.
Re: Analyse Ian « Reply #8 on Aug 17, 2012, 9:28am »
SYDNEY MORNING HERALD 10 July 1972
FANS GET A BRUSH-OFF
Rock fans will doubtless be aghast to learn that, as far as Jethro Tull is concerned, they just don't rate. The shaggy men who comprise the top British pop group flew into Sydney yesterday and solemnly pronounced:
We don't care about the audience — as long as they don't interfere.
Ian Anderson, flautist, and the group's leader, went on:
We've had people dancing and singing in the aisles. It means nothing to us. We get up there and just play for ourselves.
The group, pictured left, consists of (back, left to right): Jeffrey Hammond-Hammond, Martin Barre; (front, left to right): Ian Anderson, John Evan and Barrymore Barlowe [sic].
They will perform in Melbourne, Adelaide and Sydney next Tuesday, Wednesday and Thursday nights. With them came 72 pieces of equipment weighing more than 5000 lb and insured for $45,000.
Said Anderson: I don't know about pop or rock. We are who we are, and we do what we do.
Spin me back down the years and the days of my youth
Joined: Sept 2009 Gender: Male Posts: 2,178 Location: From down the smoke below...
Re: Analyse Ian « Reply #9 on Aug 17, 2012, 10:29am »
I suspect most of that still holds true, I think Ian does have an eye to value as regards his audience, ticket prices and merchandise have never been exhorbitant in my opinion. But there has alwasy seemed to be a general disdain of the audience as the great unwashed. I may be doing him a great dis-service and missing the mark by a mile, but it has always seemed to me that his attitude to larger part of his/Tull's audience is severely tainted by his perceptions of the few.
I wonder how he managed to tolerate Dave Pegg's drinking persona for so long if he despises an audience member who's had one beer to many for his liking.
I suspect most of that still holds true, I think Ian does have an eye to value as regards his audience, ticket prices and merchandise have never been exhorbitant in my opinion. But there has alwasy seemed to be a general disdain of the audience as the great unwashed. I may be doing him a great dis-service and missing the mark by a mile, but it has always seemed to me that his attitude to larger part of his/Tull's audience is severely tainted by his perceptions of the few.
I wonder how he managed to tolerate Dave Pegg's drinking persona for so long if he despises an audience member who's had one beer to many for his liking.
Well to that point, he has had to put up with having fireworks thrown at him, bolts, not to mention "accepting" a rose thorn to the eye. Then there was the large beer cup of piss poured over him before going out on stage (and he probably went on with a "smile"). I'm sure that this kind of thing stands out over the thousands of reverently joyful, smiling and quietly seated fans that weren't shouting "BOOGIE TULL" during the quiet parts. So his over all impression is probably at odds with that "loving feeling" (thats so far away). Not many of us ever had to deal with such things when we were at work..... Darin Cody
Well to that point, he has had to put up with having fireworks thrown at him, bolts, not to mention "accepting" a rose thorn to the eye. Then there was the large beer cup of piss poured over him before going out on stage (and he probably went on with a "smile"). I'm sure that this kind of thing stands out over the thousands of reverently joyful, smiling and quietly seated fans that weren't shouting "BOOGIE TULL" during the quiet parts. So his over all impression is probably at odds with that "loving feeling" (thats so far away). Not many of us ever had to deal with such things when we were at work..... Darin Cody
All great examples of how he could rightly get pissed off with the mindless zealot of a fan who probably can't do more than grunt and make threats and scream AQUALUNG fifty times a night, then piss themselves because to their surprise it was played and their aging bladder failed as they tried too hard to contain their own ejaculation at the very same moment. I'm sure we all know the type...
Whilst there is no excuse for that sort of behaviour anywhere, I've been to dozens of Tull gigs and never seen anything so extreme. Yes, the shout out for AQUALUNG and a few shouts here and there, plus the west country prog rockers, but generally I've only experienced reasonably good audiences [bar The Union Chapel last year] since 1972.
As for "Not many of us ever had to deal with such things when we were at work.....", You've never had to work in the UK public sector!
Joined: Nov 2009 Gender: Male Posts: 1,269 Location: Pittsboro, NC
Re: Analyse Ian « Reply #12 on Aug 17, 2012, 8:45pm »
In regard to the disregard for the audience, He may have said and felt that then and there, but I have read of (and Have ONLY read, not seen) instances where Ian has cared very much about what the audience is doing, whether he can't get their attention at some muddy festival, or if people are trying to rush the stage at a concert hall (which, granted, is hard to ignore).
We should also keep in mind that he was decidedly against the whole deadhead hippie ideal, and his comments might have been a protest to that. Either way I've heard numerous artists say they are just playing "for themselves".
In regard to the disregard for the audience, He may have said and felt that then and there, but I have read of (and Have ONLY read, not seen) instances where Ian has cared very much about what the audience is doing, whether he can't get their attention at some muddy festival, or if people are trying to rush the stage at a concert hall (which, granted, is hard to ignore).
We should also keep in mind that he was decidedly against the whole deadhead hippie ideal, and his comments might have been a protest to that. Either way I've heard numerous artists say they are just playing "for themselves".
The article we are discussing Kai is in Australia 72 and Ian had already gotten a bit of negative press from TAAB so even though I was elaborating about later years he (Ian) was probably a little miffed at the criticism and loud audiences, but I have to add that even in the "uncoor" World of LA they were so much louder than the audience that I don't think he was much bothered by us at that early point. He was just being "the sensitive artist" that we all loved.... Darin
In regard to the disregard for the audience, He may have said and felt that then and there, but I have read of (and Have ONLY read, not seen) instances where Ian has cared very much about what the audience is doing, whether he can't get their attention at some muddy festival, or if people are trying to rush the stage at a concert hall (which, granted, is hard to ignore).
We should also keep in mind that he was decidedly against the whole deadhead hippie ideal, and his comments might have been a protest to that. Either way I've heard numerous artists say they are just playing "for themselves".
The article we are discussing Kai is in Australia 72 and Ian had already gotten a bit of negative press from TAAB so even though I was elaborating about later years he (Ian) was probably a little miffed at the criticism and loud audiences, but I have to add that even in the "uncoor" World of LA they were so much louder than the audience that I don't think he was much bothered by us at that early point. He was just being "the sensitive artist" that we all loved.... Darin
I see what you're saying. I can't imagine being in the same situation he was in--intelligence is vulnerable when it is under speculation from the masses. I would never subject myself to such vulnerability--to take a creative leap and write unique music with my true emotions, only for "my lord and lady" to fortuitously bestow upon me their opinions of my goodly tunes. No way.
The article we are discussing Kai is in Australia 72 and Ian had already gotten a bit of negative press from TAAB so even though I was elaborating about later years he (Ian) was probably a little miffed at the criticism and loud audiences, but I have to add that even in the "uncoor" World of LA they were so much louder than the audience that I don't think he was much bothered by us at that early point. He was just being "the sensitive artist" that we all loved.... Darin
I see what you're saying. I can't imagine being in the same situation he was in--intelligence is vulnerable when it is under speculation from the masses. I would never subject myself to such vulnerability--to take a creative leap and write unique music with my true emotions, only for "my lord and lady" to fortuitously bestow upon me their opinions of my goodly tunes. No way.
Well you might look at it this way Kai, Ian was writing and playing his own songs for 4 years give or take and he had audiences screaming for more, successful albums, world famous. Pretty heady stuff. You'd feel pretty good, pretty confident of what you were doing. So much so you might want to try pushing the boundaries a little and try something different from the same old stuff you've been playing over and over every night. Maybe you come up with a TAAB or APP and suddenly not everybody loves you so much anymore and they start giving you a hard time.......the bastards. "who do they think they are! They only want the same thing the same way? Screw you people! Im going to play what I WANT to play!" And we're still paying to see him.......go figure. Now all I need to to is illustrate this story into a comic book panel and.....oh that's already been done......shit. This little one act play brought to you by Darin Cody
Re: Analyse Ian « Reply #17 on Aug 18, 2012, 8:57am »
A few interesting tidbits and all
NEW MUSICAL EXPRESS 13 March 1971
"I AM MUCH TOO PIG-HEADED TO HAVE PROSTITUTED MY MUSIC" Ever since they blew south from bracing Blackpool with their eccentric, fiercely-guarded originality and enthusiastic naiveté which time has honed to enthusiastic musical flair, Jethro Tull have been something of an isolated outfit ... seeming intent on maintaining a very tight, self contained capsule of existence that feeds on and generates itself totally from within. Removed from the mainstream of progressive music at most points, as individuals as well as musicians, sheltered from the excess of show biz sociality, organisers of their own tours and producers of music that owes little to anything other than the mind of Ian Anderson, they cruise along in their own enigmatic yet highly successful sidewater. Anderson for example denies the need to listen to what his contemporaries are up to. From his house on the hill in Hampstead where he leads a quiet, retiring life when not working with Jethro, he has now almost totally stopped listening to other artists' music.
I cannot think why I should listen to other people's music, he argues when it is put to him that if only from a purely business point of view he should take an interest.
My music is all that is significant to me and if other people like it I am overwhelmed that they do. I know that I am doing something different to other people's tastes and I would not start affecting what I play by listening to other people's music. I know that there is a lot of good music going around that I would probably derive pleasure from listening to, but that is a time thing and I don't have much free time. As far as watching trends is concerned, if they changed so that people didn't like our music any more I would soon be aware of it. I swear to you and anybody else that I have never sold out or prostituted my music because it is a way of making money, because I am much too pig-headed to play anything I don't like. I wouldn't play anything that didn't satisfy me. It is a principle that I do hold quite firmly. Not that it is anything unusual though ... I am sure the majority of musicians feel the same way. But it isn't a conscious cutting off that I don't play records now. I don't like listening to records as background noise. I have to sit and listen otherwise it becomes Muzak and I, for one, hate turning music into Muzak by treating it as a kind of psychological balm. I used to have the record player on all the time but now I consciously keep away from music unless I can give it my full attention. And then it becomes a time thing. I mean I wouldn't put 'Tommy' on for instance unless I was going to listen to it. I wouldn't put it on for background over breakfast. That is not what music was written for.
Jethro are today what you might term second generation progressives, the third generation being the Sabbaths, the Deep Purples, the Curved Airs. They are at a potential danger period where a drop in enthusiasm or loss of purpose and direction could see them into an abyss. Changes in personnel, however, have helped the band keep evolving and Anderson for one, with Aqualung the band's fourth album near release, exudes an aura or unabated resolve and enthusiasm. After discussing the manner in which Jethro's music is intended to employ a wide variety of styles, Anderson volunteered:
We might not be as popular as some groups because we don't have a definite style but we have been playing now for three years and are at the stage where we are not a new group any more. We can be thought of as an established group like Mayall or the Who.
ENTHUSIASM
And I think to a large extent the reason we are still around and evolving is that we have never tied ourselves down to using one style of music, like Mayall's band has never been tied down. He's mainly never tied himself down to musicians, but we've had changes as well, and I think that that is one of the things that has kept us going and kept us enthusiastic. There is a lot more enthusiasm on tour now. We can enjoy it because it is our job and everybody is involved with it and takes a pride in it ... a pride in actually going through with it and completing a tour without getting mentally messed up ourselves or physically messing up other people. As for the gigs, that's the reason we are doing it all in the first place. You have to get a kick out of that, otherwise there is no point in doing it. But it is always difficult when you sit in England for a month and generally everything seems to slow down so much that there is a danger of getting stale. I find now that I have to practise ... I never had to before. Because what we do now is a lot more demanding. If I go away for a couple of days, which is rare, I always take the guitar with me because I have to keep my hand in. As I said I don't listen to other people's music at all so my only contact with music is Jethro Tull.
The most recent change in Jethro's line-up has seen the replacement of Glenn Cornick — launching his new group this week — for the semi-mythical Jeffrey Hammond-Hammond.
Jeffrey started off hiding,
offered Ian when I asked how he was settling in.
He was very nervous about going on stage when we first went to Europe. In the first few weeks he wore as many clothes as he could to cover himself up ... working on the ostrich in the sand principle in the hope that people would not see him. But last night for the first time he went on in his lightweight gear ... baseball boots and Ho Chi Minh grey denims. He looks the epitome of the popular image of a Communist leader.
It will be a gradual but sure process as the new bassist finds his feet and his role at this point has been a very basic one.
It would be unfair (maintains Ian) to make Jeffrey play a solo. Bass solos are a bit out of context with most of my songs anyway. Really he is just playing as a bass guitarist ... he doesn't play to impress people nor does he play to remain anonymous.
HEAVIER
Playing is new to him anyway. He has to concentrate quite hard on what he is doing. It is only a few months since he took up playing again after four years and his playing then was limited. But he gets a very good sound on stage; a lot heavier sound. Most good bass players are the ones you don't even notice, but if they walked off stage you would know something terrible had happened to the sound. Like John Entwhistle is the epitome of the silent bass player. I feel those bass players are the best; except in the context of a three-piece group where it is different. But for us, with guitar, organ, piano and flute, we cover the range of top frequencies pretty completely. I think Jeffrey's contribution is something that might not be heard as outstanding but, on stage, I feel his presence more than the bass guitar in the group in the past; because he plays a sound that shakes the floor, rather than separate lyrical notes.
INTEGRITY
Anderson has always worn his integrity on his sleeve as it were. I remember on our first meeting him saying that if he felt the band was failing to function as an honest outfit he would immediately pack it all in and go back home, to college or whatever. To what extent does he now see Jethro as a long range project?
It has got to be good for another year at least because we have tours to play. Beyond that I don't really see anything other than Jethro Tull as a group playing together. I personally don't want to get into writing film scores, or making movies, or acting, or forming a supergroup. As long as we don't become stagnant. That's the important thing. It doesn't have anything to do with being popular. I used to think that if we weren't popular I would stop playing but I've changed my mind. As long as there are still sufficient people prepared to listen I would carry on. I'm getting too old to do anything else now anyway. I'm too old to go back to college and the qualifications have changed too. You need a degree to get into grammar school nowadays. NICK LOGAN
"I AM MUCH TOO PIG-HEADED TO HAVE PROSTITUTED MY MUSIC" Ever since they blew south from bracing Blackpool with their eccentric, fiercely-guarded originality and enthusiastic naiveté which time has honed to enthusiastic musical flair, Jethro Tull have been something of an isolated outfit ... seeming intent on maintaining a very tight, self contained capsule of existence that feeds on and generates itself totally from within. Removed from the mainstream of progressive music at most points, as individuals as well as musicians, sheltered from the excess of show biz sociality, organisers of their own tours and producers of music that owes little to anything other than the mind of Ian Anderson, they cruise along in their own enigmatic yet highly successful sidewater. Anderson for example denies the need to listen to what his contemporaries are up to. From his house on the hill in Hampstead where he leads a quiet, retiring life when not working with Jethro, he has now almost totally stopped listening to other artists' music.
I cannot think why I should listen to other people's music, he argues when it is put to him that if only from a purely business point of view he should take an interest.
My music is all that is significant to me and if other people like it I am overwhelmed that they do. I know that I am doing something different to other people's tastes and I would not start affecting what I play by listening to other people's music. I know that there is a lot of good music going around that I would probably derive pleasure from listening to, but that is a time thing and I don't have much free time. As far as watching trends is concerned, if they changed so that people didn't like our music any more I would soon be aware of it. I swear to you and anybody else that I have never sold out or prostituted my music because it is a way of making money, because I am much too pig-headed to play anything I don't like. I wouldn't play anything that didn't satisfy me. It is a principle that I do hold quite firmly. Not that it is anything unusual though ... I am sure the majority of musicians feel the same way. But it isn't a conscious cutting off that I don't play records now. I don't like listening to records as background noise. I have to sit and listen otherwise it becomes Muzak and I, for one, hate turning music into Muzak by treating it as a kind of psychological balm. I used to have the record player on all the time but now I consciously keep away from music unless I can give it my full attention. And then it becomes a time thing. I mean I wouldn't put 'Tommy' on for instance unless I was going to listen to it. I wouldn't put it on for background over breakfast. That is not what music was written for.
Jethro are today what you might term second generation progressives, the third generation being the Sabbaths, the Deep Purples, the Curved Airs. They are at a potential danger period where a drop in enthusiasm or loss of purpose and direction could see them into an abyss. Changes in personnel, however, have helped the band keep evolving and Anderson for one, with Aqualung the band's fourth album near release, exudes an aura or unabated resolve and enthusiasm. After discussing the manner in which Jethro's music is intended to employ a wide variety of styles, Anderson volunteered:
We might not be as popular as some groups because we don't have a definite style but we have been playing now for three years and are at the stage where we are not a new group any more. We can be thought of as an established group like Mayall or the Who.
ENTHUSIASM
And I think to a large extent the reason we are still around and evolving is that we have never tied ourselves down to using one style of music, like Mayall's band has never been tied down. He's mainly never tied himself down to musicians, but we've had changes as well, and I think that that is one of the things that has kept us going and kept us enthusiastic. There is a lot more enthusiasm on tour now. We can enjoy it because it is our job and everybody is involved with it and takes a pride in it ... a pride in actually going through with it and completing a tour without getting mentally messed up ourselves or physically messing up other people. As for the gigs, that's the reason we are doing it all in the first place. You have to get a kick out of that, otherwise there is no point in doing it. But it is always difficult when you sit in England for a month and generally everything seems to slow down so much that there is a danger of getting stale. I find now that I have to practise ... I never had to before. Because what we do now is a lot more demanding. If I go away for a couple of days, which is rare, I always take the guitar with me because I have to keep my hand in. As I said I don't listen to other people's music at all so my only contact with music is Jethro Tull.
The most recent change in Jethro's line-up has seen the replacement of Glenn Cornick — launching his new group this week — for the semi-mythical Jeffrey Hammond-Hammond.
Jeffrey started off hiding,
offered Ian when I asked how he was settling in.
He was very nervous about going on stage when we first went to Europe. In the first few weeks he wore as many clothes as he could to cover himself up ... working on the ostrich in the sand principle in the hope that people would not see him. But last night for the first time he went on in his lightweight gear ... baseball boots and Ho Chi Minh grey denims. He looks the epitome of the popular image of a Communist leader.
It will be a gradual but sure process as the new bassist finds his feet and his role at this point has been a very basic one.
It would be unfair (maintains Ian) to make Jeffrey play a solo. Bass solos are a bit out of context with most of my songs anyway. Really he is just playing as a bass guitarist ... he doesn't play to impress people nor does he play to remain anonymous.
HEAVIER
Playing is new to him anyway. He has to concentrate quite hard on what he is doing. It is only a few months since he took up playing again after four years and his playing then was limited. But he gets a very good sound on stage; a lot heavier sound. Most good bass players are the ones you don't even notice, but if they walked off stage you would know something terrible had happened to the sound. Like John Entwhistle is the epitome of the silent bass player. I feel those bass players are the best; except in the context of a three-piece group where it is different. But for us, with guitar, organ, piano and flute, we cover the range of top frequencies pretty completely. I think Jeffrey's contribution is something that might not be heard as outstanding but, on stage, I feel his presence more than the bass guitar in the group in the past; because he plays a sound that shakes the floor, rather than separate lyrical notes.
INTEGRITY
Anderson has always worn his integrity on his sleeve as it were. I remember on our first meeting him saying that if he felt the band was failing to function as an honest outfit he would immediately pack it all in and go back home, to college or whatever. To what extent does he now see Jethro as a long range project?
It has got to be good for another year at least because we have tours to play. Beyond that I don't really see anything other than Jethro Tull as a group playing together. I personally don't want to get into writing film scores, or making movies, or acting, or forming a supergroup. As long as we don't become stagnant. That's the important thing. It doesn't have anything to do with being popular. I used to think that if we weren't popular I would stop playing but I've changed my mind. As long as there are still sufficient people prepared to listen I would carry on. I'm getting too old to do anything else now anyway. I'm too old to go back to college and the qualifications have changed too. You need a degree to get into grammar school nowadays. NICK LOGAN
Hahaha nice one Charlie so topical! There's one from Rolling Stone from this same period on TullPress that I always valued. Ian had some pretty prophetic things to say and some great stuff about art and music. He had some interesting views about not listening to others music and why. Funny to read this with hindsight. Bon. Darin Cody
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